Friday, February 23, 2024

Cinema against the end of the world: Charlotte Rampling and Jonathan Nossiter present Last Words

Cinema against the end of the world: Charlotte Rampling and Jonathan Nossiter present Last Words

Film about a dystopian future in which humanity is rapidly dying out, Last Words is an invitation to respect the environment and to regain dignity and desire to be together through cinema. Directed by Jonathan Nossiter, who together with Charlotte Rampling met the press today.

Jonathan Nossiter he is a director, a photographer, a sommelier and a farmer, and in fact he shows up at the Casa del Cinema in Rome, to show the press his new fictional feature film, armed with a home-made tomato sauce with a heavenly flavour. Charlotte Rampling she offers it, spread on slices of cereal bread, to some reporter outside the screening room, as if she had always been a cook before being an actress. The gestures of both artists, coincidentally, are perfectly in line with what she is talking about Last Words, a prophetic film set in a dystopian future in which humanity is rapidly disappearing. It goes without saying that mankind is to blame, and that therefore Nossiter it invites us to respect nature and to safeguard an increasingly vilified and exploited planet. It does so through a very free adaptation of “My Last Words” Of James Friendin which he entrusted the title role Kalaka the last man on Earth, a Kalipha Touraya rookie.

Sorrowfully parting with delicacies from the garden of Jonathan Nossiterwe sit in the front row of the cinema and first of all listen to the director who explains the genesis of his film: “I read the novel by Amigorena, which I like to call ‘an 80-page prose poem’, 10 years ago and I immediately liked its being a tribute to the power that literature has to give dignity to man even in the most barbaric circumstances. The story the book tells touched me deeply and made me think of cinema, which was already disappearing 10 years ago, at least in the form we have known for 120 years. It would be stupid and pretentious to claim that cinema is dead, but the social and political act of being together in the dark and dreaming collectively looking up is fast disappearing, a bit like what happened with opera. When I started doing this work, cinema occupied an essential cultural, social and political space. It was also profoundly democratic, since everyone went to the cinema. I wanted to tell the act of seeing a film not with a cynical and disillusioned gaze, but as if it had an almost sacred value, an ability to give us relief just like a priest or a psychiatrist does”.

Nossiter he also has his say on the end of the world and the damage that the human race has caused to the planet: “We find ourselves living in a collapsing world. Global warming is not a fantasy at all. When I started preparing Last Words con Charlotte, who is not only an actress but an all-round artist, we already had the impression of being on the edge of the abyss. We are living as if it were 1939. All scientists agree that we are witnessing the end of the world. We continue to buy cell phones, to spend, and instead we need people who can restore hope to the planet. Cinema is certainly one of the best tools for bringing us together and for bringing tenderness back into the world, which is the perception of the other sitting next to us”.

The word then switches to Charlotte Rampling. The actress smiles, she is dressed in a simple but very chic way and has short hair. To journalists she explains yes to Nossiter and to his dystopia: “The main reason that prompted me to agree to be part of Last Words it was this gentleman here who is the director and who is a dear friend with whom I had already made two films. I too read the book, which impressed me a lot, then the endless chats began. Jonathan he came to Paris from Italy and we talked for hours. The film has changed shape several times, also because it was difficult to bring a work made of words to the cinema. We wanted to avoid making a wordy film. It is clear that a book is made up of words, and words help us imagine worlds that we do not see in the book, but since Jonathan he is a very very visual director, the words have to come after the feelings and after the images”.

The character of Charlotte Rampling she is a woman by name Batlk whom we meet mid-film and who is part of a community of survivors. At the beginning the director had proposed to the actress to fill the role then gone to Nick Nolte: that of an elderly man who calls himself Shakespearewho lives where the Cineteca di Bologna used to be and who teaches at Kal how to project a film. “Batlk” – reveals the Ramping – “was born from my endless conversations with Jonathan and from our common visions, or rather our deep understanding of the state of the world. We do not know where this woman is from or what language she speaks exactly, although she speaks German words. At a certain point Batlk he just appears, and if he’s smiling all the time, it’s because even I couldn’t stop smiling when I was on set. Batlk she’s a crazed splinter, and certainly proves a little insane when she jumps on a Kal which is young. This might not make sense rationally, but if you decide to make a film like ours, at a certain point you have to let yourself go, follow what you feel, what you have inside and what you want to tell”.

Also Charlotte Rampling expresses his concern for the fate of the Earth: “We are mistreating our planet, while there are so many wonderful things we could do. In the film we see how the world was destroyed, but through my character we manage to make the viewer that we can stop the trend towards the end of the world with love, empathy, understanding, openness to others. We are so worried that we are destroying our planet, but I believe that the planet will destroy us much much sooner. Our planet is much more resilient than us. It will finish us off and not the other way around.”

The happiness that Charlotte Rampling rehearsing on the set was no less than the exaltation he felt Jonathan Nossiter: “The joy of making cinema is like the joy of living. I felt a strong desire to work with very dear friends and with courageous people like It’s here, who is a boy who has faced enormous things to get to Italy, to be welcomed by someone but not by everyone. It took us 2 1/2 years to find it. We tested many talented actors, who knew what to do and how to do, in short, how to behave on a set. But we wanted someone who was spontaneous and above all not cynical. It’s here he came from a refugee camp, and when he left to join us, he was only 16″.

summoned, Kalipha Touray talks about his experience on the set: “It wasn’t easy working alongside characters like Nick Nolte, Stellan Skarsgård e Charlotte Rampling. It was a bit like the first day of school: I absolutely didn’t understand what was going on, because I really didn’t know anything, I didn’t know what it meant to make a film, so I was confused, and at first I just looked at my colleagues. Then I watched Jonathan, who sometimes gets nervous. I only understood at the end that if she gave me too precise indications, it was because she wanted me to feel at ease and to be able to improve.